Revered in art circles as an avant-gardist par excellence, the chameleonic Francis Picabia (1879-1953) lacks the name recognition of his lifelong friend Marcel Duchamp. That may change with MOMA’s major retrospective “Our Heads Are Round So Our Thoughts Can Change Direction,” co-organized by the Kunsthaus Zurich, which showcases some hundred and twenty-five paintings, a selection of works on paper, decades worth of ephemera, and even a film. Born into a wealthy family in Paris, Picabia was a notorious playboy as well as an artist—a connoisseur of fast cars whose career raced through Impressionism, Cubism, Dadaism, and Surrealism, followed by kitschy nude pinups and Art Informel abstractions. As he once said, “If you want clean ideas, change them as often as you change your shirt.” Opens Nov. 20.

The New Museum devotes three floors to “Raymond Pettibon: A Pen of All Work,” surveying the drawings of the American artist who is too often pigeonholed for his punk-rock roots. Granted, he gave the L.A. band Black Flag its name and designed its iconic four-bar logo, but the subjects of Pettibon’s text-and-image works cast a wide net of references, from baseball to Lord Byron, a line of whose poetry lends the exhibition its title. Opens Feb. 8.

The Solomon R. Guggenheim Foundation turns eighty next year. In celebration, the museum delves into its collection for “Visionaries: Creating a Modern Guggenheim,” which focusses on artists championed by six of its patrons, from Guggenheim’s art adviser Hilla Rebay to his self-professed “art addict” niece, Peggy. Expect an all-star lineup of the late nineteenth through the mid-twentieth centuries: Calder, Cézanne, Kandinsky, Klee, Mondrian, Picasso, Pollock, and Van Gogh. Opens Feb. 10.

The Brooklyn Museum is also marking a milestone: its Sackler Center for Feminist Art turned ten in October, kicking off a series of exhibitions throughout the building, collectively titled “A Year of Yes: Reimagining Feminism.” Georgia O’Keeffe said yes to the institution in 1927, when she had her first solo museum show there. The painter might seem like a predictable, even pandering, choice for feminist flag planting, but her work is being presented in an unusual light in “Georgia O’Keeffe: Living Modern,” alongside examples of her minimalist wardrobe, to offset the stereotype that her radical floral imagery embodies the feminine principle. Photographs of the artist by Alfred Stieglitz, Ansel Adams, Cecil Beaton, Annie Leibovitz, and others are also on view. Opens March 3. ♦